Carl W. Kenney II is an award winning columnist and novelist. He is committed to engaging readers into a meaningful discussion related to matters that impact faith and society. He grapples with pondering the impact faith has on public space while seeking to understand how public space both hinders and enhances the walk of faith.

Saturday, August 9, 2014

Reflections on James Brown and his violence against women

Yes, I’m a
James Brown fan.Saying that is a bit disturbing
given the Godfather of Soul’s numerous arrests for assault and domestic
violence. Loving the music is one thing.Lifting Brown as a role model is hard to concede.His life and message leaves one conflicted at
best.

Yes, I say
again for undeniable emphasis, I love me some Funk music.I’m a child of the P-Funk, and there wouldn’t
have been such a thing without James Brown. From taking the beat from the top,
showcasing moves that would be imitated by Prince, Michael Jackson and a bunch
of others who credited Michael for the moves, to making the Funk about the band
(bow down to the truth George Clinton) – everybody has been touched by the
Godfather’s music.

Yes, again I
say yes, James Brown deserves all due respect for introducing the Funk.The link between Brown and George Clinton
proves the point.The list of band
members who quit, or were kicked out of Brown’s band to join Clinton, resembles
a messy divorce.Bootsy and Catfish Collins
took the Funk to Parliament/Funkadelic after forming House Guest.Somebody sing I’d Rather Be With You. Excuse me as I reminisce. https://www.youtube.com/watch?v=0tgYr03o3dE.

Like I said, Get on Up
unpacks an important part of black music history.It exposes the sensitive, but real,
connection between black gospel and R&B. It tugs at how race denies Little Richard’s
contribution in transforming American music as the real King of Rock &
Roll.Yes, again and again yes, step
aside Elvis.We could go on for days
about how all American music has roots in black culture.A critical analysis would tell the truth
about the African connection to Blue Grass music. Help me out with that one
Carolina Chocolate Drops. https://www.youtube.com/watch?v=FVIaiADsyYo

There are layers like an onion related to the impact of cultural
appropriation, and how the genius of James Brown is embedded within the context
of black expression.We could talk about
how Brown got there.What was brewing
within the socialmilieuof black people thatfashioned the groove, the movement and lyrics of Brown’s music?

This brings me to a layer beyond the beat of Brown’s music.As powerful and meaningful as Brown’s music
is in constructing the crusade of black counter-culture, how can we separate
the message from the antics of the messenger?

How do we close eyes to Brown’s violence against women? Can we dismiss
it all as a variable of his social conditioning, while pointing at the actions
of two pitiful parents who offered him nothing in becoming a man?Can we blame it on the pathetic consequences
of extreme poverty?Or, should we censure
Brown for his abuse against women and refuse to play his music because of his pugnacious
ways?

Should we dismiss Brown and his music like we did Chris Brown after he
attacked Rihanna?What have we learned
in the space between these two Brown’s, and how do we celebrate both given
their issues with women?

I left the theater thinking about something Bill Clinton said to Oprah
after the scandal with “that woman”.

“It’s not an excuse, but it’s an explanation,” Clinton said.

I can’t excuse what Brown did, but his childhood serves as a powerful
explanation.Who wouldn’t be angry at
women given what his mother did?How do
you learn to control your anger after having to endure all of that?

I felt so bad for him.All I
could think was “stop the movie and let us pray!”

But, none of that matters in the court of law and public opinion.It doesn’t undo the rage felt by women who
have felt the force of a man’s hand on her face.It doesn’t absolve the hate and pain felt by
those who endure the sting of a man’s fury.

No, you get no pass.It’s an
explanation, but there is no excuse.

I understand the context and social conditioning that fueled that
rage.I get the demoralizing enculturation
packed in the souls of black men devoid of emotional strength to overcome the
lies thrust against their identity.I
recognize the pitfalls and insufficiency associated with attempting to get to a
place with no one to lead the way. I get being hurt, trapped and angry. But!

There is no justification for putting hands on a woman.There is no excuse.And maybe, no damn it, forget the maybe, we need
to demand accountability from those who crossed that line.

That means you Mr. Brown.That
applies to you Miles Davis and others we celebrate for their undeniable
contribution.

As for you Chris Brown, sit in a corner and get your act together
before it’s too late. You have no explanation.

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Carl W. Kenney II

Carl was named the best serious columnist of 2011 by the North Carolina Press Association for his work with the News & Observer's community paper The Durham News and in 2016 by the Missouri Press Association for his columns in the Columbia Missourian. He is a columnist with the News & Observer and Co-Executive Producer of "God of the Oppressed" an upcoming documentary film on black liberation theology. He is a former Adjunct Professor at the University of Missouri - School of Journalism and Adjunct Instructor at Duke University, the Center for Documentary Studies. He received his Bachelor’s degree in Journalism from the University of Missouri-Columbia. He furthered his education at Duke University and attained a Master of Divinity. He was named a Fellow in Pastoral Leadership Development at the Princeton Theological Seminary on May 14, 2005. He is a freelance writer with his commentary appearing in The Washington Post, Religious News Services,The Independent Weekly and The Durham Herald-Sun. Carl is the author of two novels: “Preacha’ Man” and the sequel “Backslide”.
He has led congregations in Missouri and North Carolina